Category Archives: A & E

#VIFF2024 | The Glorious 43rd Annual Vancouver International Film Festival

A & E, Arts Friday, Cinema, Vancouver, VanRamblings, VIFF 2024,

This past Wednesday, at the opening press conference for the 43rd annual Vancouver International Film Festival held at the VIFF Centre of Seymour Street, VIFF Director of Programming Curtis Woloschuk announced the programme of 150 feature films that will screen in Vancouver for 11 days, commencing on Thursday, September 26th, running through until late evening, Sunday, October 6th.

Today on VanRamblings, a brief introduction to VIFF 2024, where I’ll highlight four films. Each Friday for the next five weeks you’ll find full and in-depth coverage of the Vancouver’s upcoming film festival, must-see films, hidden gems, the films VIFF 2024 shares with the 62nd New York Film Festival — which occurs simultaneously to our homegrown festival each year — and more, much more.

See you back here every Friday.

Special Presentations

Of the Special Presentation films to screen at VIFF 2024, Curtis Woloschuk made special mention of four must-see films, the first two of which are …

Both of the films above are Gala Presentations at VIFF 2024.

Anora  won the Palme D’or (the top prize) at Cannes.

Put simply, Anora is director Sean Baker’s most searing and shattering film yet, with a breakout performance from Mikey Madison. Not to mention, a thoroughly fun and provocative time at the movies.

Director Andrea Arnold’s Bird, according to the VIFF programme guide, follows a street-smart 12-year-old girl named Bailey (played by terrific newcomer Nykiya Adams), who lives in a graffiti-tagged squat near the British seaside with her reckless half-brother Hunter (Jason Buda) and her heavily tattooed man-child father, Bug (a perfectly chaotic Barry Keoghan), who’s rushing into a wedding he can’t afford to a woman he barely knows.

The programme guide goes on to state …

This touching coming-of-age drama from three-time Cannes Jury Prize-winning filmmaker Andrea Arnold (American Honey; Fish Tank) matches seasoned actors Keoghan and Rogowski with an authentic cast of first-time performers. With its inventive editing, killer soundtrack, and top-notch cinematography by Robbie Ryan (Poor Things), the film immerses us in the hidden beauty of North Kent through Bailey’s young eyes. The result is a tender portrait of girlhood on the fringes, with a magical realist twist.

In addition to Anora and Bird, cineastes will want to take in screenings of the other two Special Presentation films of distinction and cinematic craft, including …

  • The Seed of the Sacred Fig, Iranian director Mohammad Rasoulof’s Special Jury and FIPRESCI Prize winner at Cannes, a mesmerizingly gripping parable in which paranoia, misogyny and rage of the Iranian state are mapped seamlessly onto an ordinary family unit;

  • Conclave. Oscar nominees Ralph Fiennes and Stanley Tucci lead a brilliant ensemble cast in All Quiet on the Western Front director Edward Berger’s adaption of  Robert Harris’ high-stakes drama, in which Cardinals gather at the Vatican to elect a new Pope, the film emerging as a psychologically complex morality tale.

Much of the information you’ll require to book your tickets, explore the details of the 150 feature films on offer at VIFF 2024 — not to mention, the various Short Series, expertly crafted again this year by programmer Sandy Gow — and the venues where films will screen may be found at VIFF’s online website, viff.org.

Music Sundays | Top 100 Albums | Todd Rundgren’s Auspicious 1972 Début

A & E, Jude and Megan, Music, Pop Culture, VanRamblings, , ,

Dating back to the late 1960s, through until today, I have often found employment as a music critic.

One of the great delights of my young life was to walk onto the property of Warner Bros. or Capitol Records, and be taken into the warehouse in behind the offices, leaving the premises with one hundred or more new albums, all ready to return to the home Cathy and I shared at Simon Fraser University.

From those days til today, my love for music, for discovering new music has known no bounds, as will remain the case through the end of my days.

Of course, I was very lucky — as were all members of the boom generation — to grow up in the era of The Beatles, and the rush of new music coming out of the UK, and down south out of Los Angeles. These were halcyon days of discovery, more often than not enhanced by the intake of cannabis (there is hardly any greater joy than listening to music stoned).

One of my early discoveries was Todd Rundgren, whose music career began in 1967 at the age of 19 with the Philadephia-based garage rock band, Nazz.

Over the next four years, Nazz released three albums, all to little acclaim, prompting Rundgren to leave the group, move to New York, and educate himself in the fine arts of audio engineering and production.

Upon arriving in New York, Rundgren was soon signed by Ampex Records, where he began work producing for various rock groups of the day.

1972 proved to be a critically important year for Todd Rundgren.

After signing with Bearsville Records — a recording studio started in 1969 by legendary music impresario Albert Grossman, manager of Bob Dylan, The Band, and Janis Joplin — Rundgren’s musical career took off into the stratosphere.

A few years back, a friend asked me, “So, what kind of music do you like?”

Today’s post constitutes one of a series of columns I’ve been writing on the Top 100 début albums of the past 75 years, music that has both changed and informed my life, my love of almost all musical genres also knowing no bounds.

I love life. I love music.

Today’s Music Sunday column tracks the early work of Todd Rundgren, and his multi-platinum solo, self-produced début album, Something/Anything?

Early in 1972, soon after signing on with Albert Grossman, one Friday afternoon early in the year, Todd Rundgren was in the Bearsville Studio offices for a pre-production meeting for his upcoming album the studio intended to record. All went well at the meeting, and at the 5 o’ clock hour, as the cleaning crew arrived, Grossman prepared to close the studio for the weekend.

Rundgren said, “I’ll have the cleaners let me out. I’m heading to the washroom.” Everyone bid their adieu, going home to their families.

But not Todd Rundgren. Instead, Rundgren hid out in a closet and slept for four hours, readying himself for the marathon production weekend ahead.

The cleaners left shortly before 9pm, when a sleepy Todd Rundgren emerged from his closet home. What occurred over the next fifty-seven and one half hours is part of rock and roll history.

From 9pm on that Friday night, until 6:30am Monday morning, Todd Rundgren wrote, produced, mixed, sang and played guitars, keyboards and all other instruments to produce the groundbreaking multi-platinum, multi-Grammy award winning hit machine, Something/Anything?

Every voice is Rundgren’s, every instrument played by the nascent songwriter-singer-producer, Rundgren over the weekend innovating on the recently acquired 8-track production studio equipment in ways previously unheard of and unimagined, writing a new chapter in the ongoing history of rock ‘n roll.

Twenty-five songs on a two disc album, recorded at a rate of under one fully produced song every three hours. When Bearsville Studio staff and executives arrived at their offices on Monday morning, they found Rundgren passed out, a master tape, track list and album cover art work on the console.

Over the next three weeks, working with Rundgren, studio engineers fine-tuned the 25 songs, the double Something/Anything? album released to critical acclaim in April 1972, out-selling every other album that year.

Something/Anything? spawned a half dozen chart topping hits, including I Saw the Light, and a remake of the Nazz near-hit Hello It’s Me, which shot to No. 5 in the week it was released. As a reminder: both songs featured Todd Rundgren producing, as well as on all vocals and instruments.

It Wouldn’t Have Made Any Difference was the third smash hit off Something / Anything? to top the Billboard charts in the early autumn of that year.

A dozen years later my children and I lived together at SFU with a woman, a younger doppelgänger for my now ex-wife, dubbed by my friends, and referred to by my children as Cathy 2 — as my friends said, “the sane Cathy,” and so she was.

One day when I was off teaching class, Cathy 2 put on the Rundgren album.

When I arrived home to our two-bedroom apartment at Louis Riel House, Cathy 2 greeted me, smothering me in kisses, excitedly exclaiming …

“Raymond, Raymond, I’ve spent the entire afternoon listening to Todd Rundgren’s Something/Anything? It’s gorgeous, it’s groundbreaking, I’ve never heard anything like it. I think I’m in love with Todd Rundgren!”

And so she was, and so should we all be.

On a closing note, and to provide a bit more background on Todd Rundgren.

In 1972, Rundgren began a relationship with model Bebe Buell. During a break in their relationship, Buell had a brief relationship with Aerosmith’s Steven Tyler, which resulted in an unplanned pregnancy.

On July 1, 1977, Buell gave birth to Liv Tyler, the future model and actress.


Todd Rundgren raised actress Liv Tyler as his daughter for the first 18 years of her life. Even when she became aware that Steven Tyler was her father, she maintained Rundgren as one of her two fathers.

To protect the child from Tyler’s drug addiction, Buell claimed that Todd Rundgren was the biological father, and named the child Liv Rundgren, Todd Rundgren raising her as his daughter.

At age fifteen, Liv learned that Steven Tyler was her biological father.

Even so, Liv Tyler still calls Todd Rundgren her father, and still maintains a very close relationship with the now 76-year-old musician.

#Cinema | Ageless Auteurs Veteran Directors Set The Standard in Hollywood

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81-year-old Academy Award winning American director Martin Scorcese

In an industry often perceived as dominated by youth and the next big thing, the continuing contributions of directors over 65 years of age are a testament to the timeless nature of cinematic storytelling.

Far from being sidelined, these seasoned filmmakers bring a depth of experience, wisdom, and a unique perspective that enriches the cinematic landscape.

Hollywood and global cinema alike benefit immensely from their ongoing work, as they challenge the norms and push creative boundaries well into their later years.

Mark Twain once quipped, “Age is a case of mind over matter. If you don’t mind it, it doesn’t matter.”

When you consider the work of acclaimed American director Martin Scorsese, age certainly isn’t making a difference.

After landing 10 Oscar nominations for last year’s historical crime epic Killers of the Flower Moon, the 81-year-old director has mapped out his next several projects. Sources say he plans to shoot two films back to back: the first about Jesus, the second a Frank Sinatra biopic.

Scorsese isn’t the only director from the over-75 set who is doing some of his most ambitious work.


Adam Driver and Nathalie Emmanuel star in Francis Ford Coppola’s new film, Megalopolis

The Cannes competition lineup this year featured three of his compatriots: 85-year-old Francis Ford Coppola (with Megalopolis), 81-year-old Canadian director David Cronenberg (The Shrouds), and 77-year-old Paul Schrader (Oh, Canada).

Their productive later years are remarkable considering Hollywood hasn’t always been kind to aging auteurs — Billy Wilder (Some Like It Hot, The Apartment), for instance, spent his final two decades struggling to get one more movie produced.

“I’m sure most artists want to keep working, but sometimes you’re not fortunate enough, lucky enough, good enough to stay in the arena,” Schrader, who wrote the screenplay for Scorsese’s seminal 1976 film Taxi Driver, told journalists at Cannes.

“And if you don’t have that creative motivation, you’re just gonna get called out as an emblem of something that used to be. But I had to keep working. I had some COVID health problems, and every time I thought that I might die, I would get a new idea.”

At 86, Ridley Scott is literally staying in the arena.


86-year-old British director Ridley Scott readies for the release of a sequel to his 2000 film, Gladiator

Footage from his long-awaited return to the Colosseum for a Gladiator sequel emerged as a favourite at CinemaCon this year, where Paramount showed epic scenes to movie theatre executives, dominating the headlines out of Las Vegas.

Perhaps because Scott continues to work with top-notch below-the-line crew members, the swords-and-sandals saga, which stars Paul Mescal and Denzel Washington, looked more finished seven months ahead of its November 22 release than some superhero tentpoles on opening night.

“Ridley Scott is the master of creating the kinds of movie spectacles that the cinematic experience was created for and is among the most tenacious and vibrant auteurs working today,” Paramount CEO Brian Robbins told the crowd at the April 11 presentation. Robbins told those gathered that he will be working with Scott on his next movie, a Bee Gees biopic for Paramount.


77-year-old celebrated American director, Steven Spielberg, readies to film his next movie

For his part, Steven Spielberg, at age 77, is also staying busy. Spielberg is reportedly already at work on his next project, a UFO film based on his own original idea. David Koepp is writing the screenplay, sources say.

But maybe no feat of career longevity is as impressive as that of Clint Eastwood.
The 93-year-old director just wrapped postproduction on Juror No. 2.

Insiders say Warner Bros. is thrilled by what it has seen of the Nicholas Hoult thriller about a murder trial juror who realizes he may be at fault for the victim’s death. If the film is ultimately embraced, that will offer a fitting plot twist considering several studios passed on the low-risk, low-budget film.


Clint Eastwood began his career in Hollywood in 1954, 70 years ago this year. And he’s still active!

Even at 93, Eastwood should never be counted out.


87-year-old British auteur Ken Loach’s latest film, The Old Oak — released earlier this year — has emerged as one of VanRamblings’ favourite films of 2024. A must-watch. Available On Demand.

Across the Atlantic, British director Ken Loach, 87, remains a powerful voice in cinema. Renowned for his socially conscious films, Loach’s most recent work, The Old Oak won accolades at Cannes in May, the title referring to the last pub standing in a once thriving mining village in northern England, a gathering space for a community that has fallen on hard times.

Other notable directors of an age …

Margarethe von Trotta, 81. The leading New German Cinema director just released her latest, Ingeborg Bachmann — Journey Into the Desert.

Werner Herzog, 81. The acclaimed German director has been making films since the 1960s.

Stephen Frears, 82. The British director of The Queen and Dangerous Liaisons, released The Lost King earlier this year.

Brian De Palma, 83. The Untouchables and Carrie director is in pre-production for his next film, Sweet Vengeance, a murder mystery.


Master Japanese filmmaker, and co-founder of Studio Ghibli, 82-years-young Hayao Miyazaki

In Japan, Hayao Miyazaki, co-founder of Studio Ghibli, at 82, is once again coming out of retirement to direct How Do You Live?

Miyazaki’s films, characterized by their imaginative storytelling and profound emotional depth, have left an indelible mark on animation and global cinema. Miyazaki’s return to filmmaking is eagerly anticipated by fans worldwide, underscoring the lasting impact of his creative genius.

The continued success of these directors challenges ageist assumptions within the industry and society at large.

Their work exemplifies how experience can enhance artistic expression, offering rich, nuanced narratives that often elude younger filmmakers. Moreover, their ability to adapt to technological advancements and changing audience tastes underscores their relevance in a rapidly evolving industry.

These directors also serve as mentors and role models, guiding the next generation of filmmakers. Their careers offer valuable lessons in perseverance, adaptability, and the relentless pursuit of excellence. The stories they tell and the methods they employ reflect decades of accumulated knowledge and insights, providing a treasure trove of learning for aspiring directors.

In a broader sense, the ongoing contributions of directors over 65 highlight the importance of diversity in storytelling.

Just as the industry has made strides toward greater inclusivity in terms of race, gender, and sexuality, recognizing and valuing the contributions of older filmmakers is crucial. The work of elder directors adds richness and diversity to the cinematic tapestry, ensuring that film remains a medium that reflects the full spectrum of human experience.

Sunday Music | Elton John | 1970 | Eponymous Album

A & E, Jude and Megan, Music, Pop Culture, Radio, Stories of a Life Redux, Vancouver, VanRamblings, , , , , ,

Each summer, from the late 1960s through the 1980s, legendary broadcaster Terry David Mulligan traveled to Great Britain, in search of new music, breaking artists, and the “next big thing.”

In 1970, the next big thing was Reginald Kenneth Dwight aka Elton John.


Love Song, side2, track 7, my favourite Tumbleweed Connection song, that got lots of radio play from me

Elton John’s self-titled début constituted his introduction to North American audiences. Tumbleweed Connection was his first British release, and went on to (lesser acclaim than his 1970 album) become his second North American album release.

At the time, Terry was employed by CKVN (that station had been, and would be again, be CFUN, a giant of pop radio in Vancouver).

Arriving back in Vancouver, Terry was excited to spin Elton John’s disc for all the jocks at the station, who — in the main — were as enamoured with the then unknown Elton John, as was the case with a gregariously enthusiastic TDM.

The number one smash hit off the album was Your Song, which became a staple at weddings of the era — including mine to Cathy, on December 19, 1970.

To this day, Elton John’s eponymous début remains my favourite Elton John album, a serious, incredibly well-composed, almost operatic album, much at variance with the more pop-oriented albums and songs Elton John would compose and release — with lyrics by Taupin — over the next 50 years.

“The album which I am quite proud of is the very first one [I did with Elton]. The ‘black album’ was all done in a week. If I could go through that week again, I would just love it to death.”

Gus Dudgeon, Producer

Elton John is a classic, Top 100  album in the pantheon of rock music.

John and lyricist Bernie Taupin’s songwriting had an immediacy ingrained in the music, sharper and more diverse than Tumbleweed Connection, or any music the two released after 1970.

Taupin is all about American mythology and old men’s regrets. Elton likes his harps and harpsichords. Together they gaze beyond England.

Listen to the music. Elton and Taupin clearly have their hearts in the South.

Take Me to the Pilot, a rocking gospel piece where John’s driving piano takes centre-stage over the strings may not make much sense lyrically, but John’s good sense ground its willfully cryptic words with a catchy blues-based melody.

Next to the increased sense of songcraft, the most noticeable change on Elton John is the addition of Paul Buckmaster’s grandiose string arrangements.

“It only took the first hearing for me to call Elton’s manager and express my enthusiasm. I heard the potential of what he and Bernie had written. I had already begun to hear what I was going to do with Your Song, for a start. It was the sort of thing that I was dying to have a go at.”

Paul Buckmaster

Buckmaster’s orchestrations are never subtle, but they never overwhelm the vocalist, nor do they make the songs schmaltzy.


First Episode At Hienton, one of my favourite songs on Elton John, one I often sing to. I know that I am still alive and thriving, when  I can hold the extended note (wwwooooommmaaannnn) at 4:13 in.

Instead, they fit the ambitions of John and Taupin, as the instant standard Your Song illustrates.

Even with the strings and choirs that dominate the sound of the album, John manages to rock out on a fair share of the record. Though there are a couple of underdeveloped songs, Elton John remains one of his best records.

In a rather uneventful period in rock music, John’s music emerged as so staggeringly original that it wasn’t obvious that he was merely operating within a given musical field (such as country or blues or rock) but, like Randy Newman and Laura Nyro among others, creating his own field, borrowing from country, rock, blues, folk and other influences, but mixed in his own way.

Aretha Franklin would hardly have covered Border Song — a great gospel tune with a bombastic arrangement — if she’d sensed an artificiality.

The resulting songs are so varied in texture that his music defied classification.

While his voice, in those days, mostly resembled Jose Feliciano, there were also detectable touches of Leon Russell and Mick Jagger.

Sitting behind his own piano, with Nigel Olsson on drums and Dee Murray on bass, John’s new sound was much earthier than his earlier work, even if there was an essential sweetness to his heavily orchestrated North American début album.

All these years later, in 1970 and fifty-four years on, with Elton John’s arrival on the music scene, the sense existed then that in Reginald Kenneth Dwight here was a legendary artist destined to play a featured role in the history of rock ‘n roll.